Thematische Bibliographien / The Bridgertons series

Auswahl der wissenschaftlichen Literatur zum Thema „The Bridgertons series“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "The Bridgertons series"

Herencia Grillo, Amalia. „¿Una oportunidad perdida? Multiculturalismo y razas invisibles en The Bridgertons“. Textos, plataformas y dispositivos. Nuevas perspectivas para el análisis del discurso 9, Nr. 18 (17.11.2022): 291–312. http://dx.doi.org/10.24137/raeic.9.18.13.

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El cine y la televisión son medios de comunicación cuyo alcance permite contar historias, reflejar ideas, retratar sociedades y establecer debates en torno a diferentes temas como el multiculturalismo. A través del análisis de una serie como The Bridgertons (Shondaland, 2020), en la que la raza de sus actores no está asociada a la de los personajes que representan, queremos comprobar si este hecho supone un apoyo o un escollo al concepto de la invisibilidad de la raza como soporte del multiculturalismo. Para esto, realizamos un recorrido por el papel desarrollado por actores de razas minoritarias (entendiendo como tal aquellas diferentes a la blanca) en las producciones de Hollywood, valorando los estereotipos y las limitaciones a las que se han enfrentado y lo comparamos con el cambio que ha supuesto, en esta serie, el papel protagonista que representan estos actores. Los resultados demuestran que, a pesar de que participan actores de razas minoritarias en papeles que les hubiesen estado vetados hace años, esta posibilidad no se amplía a todas las razas, por lo que podemos concluir que el avance en la normalización del protagonismo de estos actores es solo parcial. A este hecho se suman las diferencias en la representación e identificación de ciertos actores con estereotipos culturales en ambas temporadas. ///// The main power of cinema and television as communication media is not just telling stories, but also reflecting ideas, picturing societies and establishing debates around different topics as the one we are dealing with in this study: multiculturalism. Through analysing a series like The Bridgertons (Shondaland, 2020), where their performers’ race is not linked to the characters they play, we want to test if this fact supports or challenges the concept of race’s invisibility as a support for multiculturalism. To do this, we overview the role that minority races’ (meaning those other than white) actors have played in Hollywood productions, considering stereotypes and limitations they have faced and compare this fact with this series’ changes in the protagonist roles that these actors play. Results prove that, despite minority races’ actors playing roles that would have been banned for them years ago, this option is not available for all races, so we can conclude that the improvement in these actors’ protagonism is just partial. Added to this the incongruencies and differences in the representation and identification of certain actors with cultural stereotypes in first and second seasons.

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Wyatt, Bethany. „‘You wish to follow your heart, and I wish to nurture my mind’: The figures of the spinster and widow in Bridgerton“. Journal of Popular Television, The 11, Nr. 1 (12.04.2023): 45–53. http://dx.doi.org/10.1386/jptv_00092_1.

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As a romantic drama fictionalizing the Regency marriage mart, Bridgerton () is a series which privileges women’s experiences. From the debutantes entering society, to their ‘ambitious mamas’, feminine narratives play out across the two seasons which have aired to date. Warranting particular attention are the figures of the widow and the ‘spinster’, whose representations this article explores. Bridgerton’s widows are presented as dynamic characters at the centre of their families and the ‘bon ton’, embodying the freedoms elite widows could enjoy. In contrast, the spinster is a topic of (negative) discussion but absent physically, despite the many elite Georgian women who never married. Ideals of independence are explored in some of Bridgerton’s young protagonists, but these are ultimately limited in the constraints of the drama’s romanticized Regency world.

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Amani, Adibah Saesa, und Ni Luh Putu Setiarini. „Expressive Illocutionary Speech Acts Used in Queen Charlotte: A Bridgerton Story Series“. JEdu: Journal of English Education 3, Nr. 3 (30.11.2023): 230–39. http://dx.doi.org/10.30998/jedu.v3i3.9727.

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This research discusses expressive speech acts identified in the Queen Charlotte: A Bridgerton Story series. The objective of this research are to find out the types of expressive speech acts and the most dominant types of expressive speech acts used in the Queen Charlotte: A Bridgerton Story series. The method used in this research was descriptive-qualitative. This research used theory from Searle and Vanderken (1985) to analyze the data. The data in this study were obtained from the utterances used by the character in Queen Charlotte: A Bridgerton Story. The results of this research showed that there are 109 data points found, namely 12 data of apology, 14 data of thanks, three data of condole, two data of condolences, 10 data of complaint, 12 data of lament, 15 data of protest, five data of deplore, six data of boast, 13 data of compliment, six data of praise, and 11 data of welcome (greet). With these data, the expressive speech act of protest is the most types of expressive speech act used in the Queen Charlotte: A Bridgerton Story series.

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Froide, Amy M. „The history behind Bridgerton“. Journal of Popular Television, The 11, Nr. 1 (12.04.2023): 55–60. http://dx.doi.org/10.1386/jptv_00093_1.

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While the Bridgerton () series does not present itself as historically accurate, shows set in the past always lead to historical questions. In this article I argue for using fictional historical series as a tool in the classroom and to engage with the public. Bridgerton is a useful entrée into topics it emphasizes, such as the British aristocracy, fashion and design, courtship and marriage and the British colony of India, as well as those that it ignores: male monarchy, patriarchy, singleness and Atlantic slavery.

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Handayani, Sartika. „Casual and Intimate Style Uttered by Eloise Bridgerton in “Bridgerton 2” TV Series“. Humanitatis : Journal of Language and Literature 9, Nr. 2 (28.06.2023): 307–18. http://dx.doi.org/10.30812/humanitatis.v9i2.2561.

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This research focused on finding out the use of casual style and intimate style from Eloise Bridgerton character’s utterances in “Bridgerton 2” TV series. The aim of this research is to get understanding how close and intimate Eloise's relationship is with her family and friends. Joos's (1967) theory of language style was used in this research. And then, the researchers also conducted the speech functions theory from Holmes & Wilson (2017). The researchers employed descriptive qualitative method as the method of the research which is proposed by Creswell & Creswell (2018). For collecting the data, the researchers used the method of observation and the techniques of non-participatory by Sudaryanto (2015). Furthermore, the method of referential identity and the technique of competence in equalizing by Sudaryanto (2015) were used for analyzing the data. As the result, the researchers found out 16 data for language style. The 16 data derived from 7 data of casual style and 9 data of intimate style. Moreover, 17 data for speech functions which derived into 9 data of expressive function, 5 data of directive function, 2 data of referential function, and 1 data of metalinguistic function.

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Darmawati, Dwita, und Sajarwa Sajarwa. „Pragmatic Equivalence of Expressive Speech Act in Television Series Bridgerton“. LITE 18, Nr. 1 (15.07.2022): 43–53. http://dx.doi.org/10.33633/lite.v18i1.5630.

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This article aims to identify pragmatic equivalence in the translation of expressive speech acts. Descriptive and comparative methods were used in this study to analyze the data. Data collection is done by analyzing documents with the technique of observing and note-taking. The data is in the form of utterances containing expressive speech acts on the subtitles of the Bridgerton TV series in English and Indonesian. The data is obtained through accessing the Netflix platform with a personal account. Found 123 data of expressive speech acts on the Bridgerton TV series subtitle with the functions of criticizing, praising, sarcastic, complaining, apologizing, condolences and thanks. The result of the research shows that there are two types of pragmatic equivalence that the Bridgerton TV series subtitle translator has successfully achieved in translating expressive speech acts. The equivalences are the equivalence of expressive illocutionary force and the equivalence of the distance of relevance. Thus, the translator has been able to convey messages from the source text to the target text commensurately.

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Taddeo, Julie Anne. „The Bridgerton effect: Introduction to a Special Issue on Netflix’s TV series“. Journal of Popular Television, The 11, Nr. 1 (12.04.2023): 3–6. http://dx.doi.org/10.1386/jptv_00089_2.

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This special mini-issue on Netflix’s TV series, Bridgerton (2020–present), highlights the power of period drama television in its interrogation of historical and contemporary issues. The authors represent different disciplines, from literature and history to communications and media studies, and the formal and reflective essays that follow, combine our perspectives as both academics and fans of the period romance genre. Lastly, this issue describes how the ‘Bridgerton experience’ represents the multiple ways in which fans consume this series as it continues to shape our fantasies about the past.

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Kezyana, Natalia, Nelfis Ndruru und Ismarini Hutabarat. „FIGURATIVE LANGUAGE IN BRIDGERTON SERIES SEASON 2 SELECTED EPISODES“. JURNAL LITTERA: FAKULTAS SASTRA DARMA AGUNG 3, Nr. 1 (30.04.2024): 16. http://dx.doi.org/10.46930/littera.v3i1.4349.

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Tujuan dari penelitian ini adalah untuk menjelaskan bahasa kiasan yang memiliki makna dalam Bridgerton Series Season 2 Episode Pilihan. Metode penelitian kualitatif digunakan dalam penelitian ini. Identifikasi dilakukan dengan meninjau dialog yang telah ditranskrip dan memeriksa bahasa kiasan dalam setiap dialog. Hasil dari penelitian ini terdapat delapan jenis bahasa kiasan, yaitu 21 ujaran (40,38%) untuk eufemisme, 9 ujaran (17,31%) untuk ironi, 7 ujaran (13,46%) untuk ironi, 7 ujaran (13,46%) untuk ironi, 7 ujaran (13,46%) untuk idiom, dan 7 ujaran (13,46%) untuk idiom. 46%) untuk idiom, 6 ujaran (11,54%) untuk hiperbola, 3 ujaran (5,77%) untuk litotes, 3 ujaran (5,77%) untuk metafora, 2 ujaran (3,85%) untuk simile, dan 1 ujaran (1,92%) untuk personifikasi. Berdasarkan penelitian tersebut, dapat disimpulkan bahwa jenis bahasa kiasan yang paling dominan adalah eufemisme, yaitu sebanyak 21 ujaran (40,38%).

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Rubio-López, Beatriz P. „Developing EFL Students’ Multimodal Communicative Competence Through Lady Whistledown’s Society Papers: A Teaching Proposal“. Profile: Issues in Teachers' Professional Development 26, Nr. 1 (02.02.2024): 185–206. http://dx.doi.org/10.15446/profile.v26n1.107896.

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This paper focuses on integrating multimodal communication into the English-as-a-foreign-language classroom to enhance the development of students’ multimodal communicative competence, multiliteracies, and 21st-century skills. To do so, I compiled a corpus of authentic materials from Lady Whistledown’s Society Papers in Julia Quinn’s novel The Viscount Who Loved Me (2000), her appearances as narrator in the Netflix series Bridgerton (2022), and some tweets posted by @Bridgerton. This corpus was used to plan and design a game-based teaching proposal. Finally, the paper offers a critical analysis and suggests how this proposal can feasibly contribute to fostering students’ multimodal communicative competence.

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Davisson, Amber, und Kyra Hunting. „From private pleasure to erotic spectacle: Adapting Bridgerton to female audience desires“. Journal of Popular Television, The 11, Nr. 1 (12.04.2023): 7–25. http://dx.doi.org/10.1386/jptv_00090_1.

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In this article, we look at how medium and genre shaped the Netflix adaptation of the first two Bridgerton novels and mediated the depictions of sex and desire to fit medium-specific expectations surrounding sexual content made for women. The showrunners for Netflix’s Bridgerton (2020–present) articulated a desire to depict sex from a female perspective, and with a ‘female gaze’, but the series is also instrumental in defining that perspective in ways that often differ from the approach of the novels’ female author. The contrast between the original and the adaptation reveals social norms and beliefs about content that excites women as well as stark differences in print and television norms. In attempting to use a female gaze, the adaptation also constructs the female gaze as distinctly separate from what is depicted in the novels and as limited to specific forms of ‘looking’. We first explore how this is implicated in choices that were made about the adaptation of violent or aggressive sex for the show. Bridgerton avoids depictions of aggression present in the novel and falls back on traditional depictions of appropriate feminine desire. Secondarily, we discuss depictions of sexual consent in the novel and the series with a particular emphasis on the implications colour-blind-casting has for the depiction of violations of consent.

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Dissertationen zum Thema "The Bridgertons series"

Bagnara, Sonia. „Il Politically Correct tra Stati Uniti e Italia. Analisi delle serie Netflix Bridgerton e Zero“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25290/.

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Nascita e sviluppo del fenomeno Politically Correct negli Stati Uniti con riferimento alle Culture Wars e i Cultural Studies. Il concetto di Politically Correct in Italia. Casi studio sulla Censura e sul Politically Correct in entrambi i paesi. Analisi delle serie Netflix Bridgerton e Zero.

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Bücher zum Thema "The Bridgertons series"

Copyright Paperback Collection (Library of Congress), Hrsg. When He Was Wicked: Bridgerton 2nd Epilogues - 3, The Bridgertons - 6. New York: Avon Books, 2004.

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Copyright Paperback Collection (Library of Congress), Hrsg. The Duke and I: The Bridgertons - 1. New York, N.Y: Avon Books, 2000.

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Copyright Paperback Collection (Library of Congress), Hrsg. To Sir Phillip, With Love: The Bridgertons - 5. New York, N.Y: Avon Books, 2003.

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Quinn, Julia. The Duke and I. New York, N.Y: Avon Books, Inc., 2000.

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Quinn, Julia. A Sir Phillip, con amor. Barcelona: Ediciones Urano, 2010.

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Quinn, Julia. The Other Miss Bridgerton : A Bridgertons Prequel: The Bridgerton Series. Harpercollins, 2018.

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Quinn, Julia. The Other Miss Bridgerton : A Bridgertons Prequel: The Bridgerton Series. Harpercollins, 2018.

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The Bridgertons: Happily Ever After: The Bridgertons - 8.5. Avon Books, 2013.

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Quinn, Julia. The Wit and Wisdom of Bridgerton: Lady Whistledown's Official Guide: The Bridgertons. Avon, 2021.

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Fun Facts about Bridgerton : Prove You Really Love Bridgerton by Getting Full Marks in This Trivia Quiz: The Bridgertons Series Quiz. Independently Published, 2021.

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Buchteile zum Thema "The Bridgertons series"

Posti, Piia K. „‘I Get to Exist as a Black Person in the World’: Bridgerton as Speculative Romance and Alternate History on Screen“. In History and Speculative Fiction, 123–49. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_7.

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AbstractIn 2020, a TV drama series adaptation was made of Julia Quinn’s historical romance series Bridgerton (2000–2012). Several choices in the adaptation were inspired by the recent hypothesis that Queen Charlotte was Black, and an unusual number of Black actors were cast in roles that both fictionally and historically have been predominantly reserved for white actors. This article explores the hypothesis’ impact on the adaptation in the intersection of romance, race and history. What notions (historical and contemporary) of romance, race and historical accuracy are challenged and endorsed in contemporary popular media like the Bridgerton series? What are the benefits and setbacks from a decolonial perspective when Black people are cast, and “familiar” history is told, in such “unfamiliar” ways?

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Konferenzberichte zum Thema "The Bridgertons series"

Azeharie, Suzy, Wulan Purnama Sari und Lydia Irena. „Feminism Perspective on Bridgerton Drama Series“. In 3rd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220404.012.

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